Correct link: http://psycnet.apa.org/record/1941-00108-001
On Thu, 17 Aug 2017 08:14:21 -0400 Marc Lavallée <m...@hacklava.net> wrote: > Available, but not free: > http://psycnet.apa.org/doiLanding?doi=10.1037%2Fh0054629 > > On Thu, 17 Aug 2017 13:05:46 +0100 > Augustine Leudar <augustineleu...@gmail.com> wrote: > > > My favorite experiment/paper on this subject, which although old, is > > still relevant, is "The role of head movements and vestibular and > > visual cues in sound localization " Wallach 1940 - I can't seem to > > find it anywhere though > > - if anyone has it and can post a PDF of it it would be very much > > appreciated. > > > > On 17 August 2017 at 09:42, Peter Lennox <p.len...@derby.ac.uk> > > wrote: > > > The motion bounce illusion, where application of an audible > > > transient alters the visual conclusion, from two circles passing > > > through each other, to a perception of them 'bouncing' off each > > > other, is a good example of audio altering visual perception. > > > > > > it would be simplistic to say that one sense 'dominates' the > > > other, since the real point lies in the comparative robustness of > > > cues -the sense with the best signal-to-noise ratio is likely to > > > dominate in particular instances. > > > > > > Dr. Peter Lennox SFHEA > > > > > > Senior Lecturer in Perception > > > > > > College of Arts, Humanities and Education > > > > > > School of Arts > > > > > > > > > > > > e: p.len...@derby.ac.uk<mailto:p.len...@derby.ac.uk> > > > > > > t: 01332 593155 > > > > > > > > > > > > https://derby.academia.edu/peterlennox > > > > > > https://www.researchgate.net/profile/Peter_Lennox > > > > > > > > > > > > University of Derby, > > > Kedleston Road, > > > Derby, > > > DE22 1GB, UK > > > > > > ________________________________ > > > From: Sursound <sursound-boun...@music.vt.edu> on behalf of > > > Augustine Leudar <augustineleu...@gmail.com> > > > Sent: 16 August 2017 22:14:46 > > > To: Surround Sound discussion group > > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > > > This is true too Dave - I know of one audio cue in particular (to > > > do with a football bouncing off a wall) that can alter the way you > > > see the way the ball moves - Ill have to dig it out. It really > > > sucks being a sound artist sometimes ! oh so you're an audio > > > guy.... What's a sound artist ? What like a sound engineer ? or a > > > sound designer ? ooohhhhh a jumped up button pusher with delusions > > > of grandeur........ > > > > > > On 16 August 2017 at 20:06, Dave Malham <dave.mal...@york.ac.uk> > > > wrote: > > > > I, too, agree with Augustine. A point though that I would make, > > > > on the > > > side > > > > so to speak, is, do not assume that visual cues always override > > > > audio > > > ones. > > > > It is quite common for visual arts people to assume that the > > > > visual overrules everything else but, although not as common, > > > > audio perceptions can override visual ones at times. Anyway, > > > > good luck with your phd. > > > > > > > > Dave > > > > > > > > > > > > On 16 August 2017 at 15:29, Peter Lennox <p.len...@derby.ac.uk> > > > > wrote: > > > > > Wot he said... > > > > > > > > > > Dr. Peter Lennox SFHEA > > > > > Senior Lecturer in Perception > > > > > College of Arts, Humanities and Education > > > > > School of Arts > > > > > > > > > > e: p.len...@derby.ac.uk > > > > > t: 01332 593155 > > > > > > > > > > https://derby.academia.edu/peterlennox > > > > > https://www.researchgate.net/profile/Peter_Lennox > > > > > > > > > > University of Derby, > > > > > Kedleston Road, > > > > > Derby, > > > > > DE22 1GB, UK > > > > > > > > > > > > > > > -----Original Message----- > > > > > From: Sursound [mailto:sursound-boun...@music.vt.edu] On > > > > > Behalf Of Augustine Leudar > > > > > Sent: 16 August 2017 15:25 > > > > > To: Surround Sound discussion group <sursound@music.vt.edu> > > > > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > > > > > > > As you probably know visual and other cognitive cues often > > > > > override > > > audio > > > > > cues (see wallachs amazing cylinder experiment from 1940). I > > > > > like to > > > play > > > > > with peoples minds in my installations and create illusions > > > > > with sound > > > - > > > > > but these can be massively aided by the careful manipulation > > > > > of > > > cognitive > > > > > and visual cues - for me for example the choice of location > > > > > and how it looks is just as much a compositional decision as > > > > > the choice of sounds, every sensory experience people have > > > > > from the sight of a speaker, to > > > the > > > > > smell of the environment will have an associated meaning for > > > > > listeners > > > > and > > > > > effect how they hear things, and how believable the world you > > > > > are > > > trying > > > > to > > > > > transport them to is.. > > > > > Cognitive cues are massively influential on how we hear and > > > > > experience > > > > the > > > > > world - from branding to deciding one person has something > > > > > more > > > important > > > > > to say because you know their name, etc etc - you can > > > > > completely > > > override > > > > > audio cues - or massively enhance them if you are clever in > > > > > their use. However I would suggest practice led research for > > > > > this kind of project > > > - > > > > I > > > > > have heard so many things that sound very good on paper but > > > > > dont > > > actually > > > > > work - to really add to the body of human knowledge I would > > > > > say do it > > > the > > > > > other way round here - find out what works then write about > > > > > it. There are loads of really interesting avenues of research > > > > > in this > > > topic - > > > > > from intepoliation in HRTF data sets to various applications > > > > > in VR. Although not sound based there is research for example > > > > > in VR - you put > > > a > > > > > headset on and walk in a room - you think you are walking in a > > > > > straight line but actually you are walking in a curve - the > > > > > research is > > > > determining > > > > > how far visual cues can foll haptic ones, how much of a curve > > > > > can you > > > get > > > > > away with.... There are many audio equivelants to this > > > > > "curve". .....I > > > am > > > > > also involved in sound sculpture but not perhaps in the way > > > > > you mean - > > > I > > > > > make actual sculptures with sonics bult into them - I like > > > > > technology > > > to > > > > be > > > > > hidden for the aforementioned cognitive reasons- I also do a > > > > > lot of installations in natural environments that integrate > > > > > psychoacoustic and cognitive research (such as the cocktail > > > > > party effect and precedence > > > > etc) . > > > > > I can send you some papers I wrote on using these cues in > > > > > sound installation and theatre if you PM me. I also would be > > > > > wary of terms > > > like > > > > > "sound based music" it sounds like pure academese - I > > > > > understand the importance of academic writing style you have > > > > > the potential to write an interesting research project and > > > > > create a great portfolio which > > > actually > > > > is > > > > > clever and doesnt need to obscure its content with unnecessary > > > > > esoteric language . My advice would be to follow your passion > > > > > and not let > > > yourself > > > > > get led into something you're not really that interested in or > > > > > that > > > makes > > > > > your supervisor feel safer - to finish you will need to be > > > > > really > > > > engaged. > > > > > > > > > > On 16 August 2017 at 13:45, Peter Lennox > > > > > <p.len...@derby.ac.uk> wrote: > > > > > > You probably have a supervisor, so I wouldn't want to > > > > > > interfere. But it seems to me that your main aim is too > > > > > > broad, too vague. You seem to be saying something like "the > > > > > > perception of music partly relies on processes (neural, > > > > > > cognitive and psychological) that exist for other than > > > > > > musical reasons - so how can this principle be applied to > > > > > > enrich music and sound art?" > > > > > > - but of course, composers have always done this. Take the > > > > > > principle of "intuitive physics" (1993: 'Intuitive Physics', > > > > > > in Eilan, McCarthy and Brewer, (eds.), Problems in the > > > > > > Philosophy and Psychology of Spatial Representation; 99-112) > > > > > > - then compare "flight of the bumble bee" with Prokoviev's > > > > > > "Dance of the Knights" (a track on Romeo and Juliet) - you > > > > > > can hear that they rely on extra-musical associations about > > > > > > size (mass) and therefore momentum, and the sorts of > > > > > > movement (acceleration, change of direction) that might be > > > > > > expected for beings of differing masses. (Also have a > > > > > > listen to Tomita's electronic renditions of Debussey) > > > > > > > > > > > > > > > > > > On the notion of sound sculpture, there are many artists > > > > > > interested > > > in > > > > > > this - for example, The Morning Line > > > > > > (https://www.youtube.com/ watch?v=gipLCJr94Sg ) > > > > > > > > > > > > So, you have a very interesting topic area, and one in which > > > > > > much is not known (an exciting area for research, then). But > > > > > > this stage, of formulating a coherent proposal, is very hard > > > > > > work. Simplicity is the key - trying to be really clear (to > > > > > > yourself) what it is you want to know. That's a problem that > > > > > > all academics wrestle with, all their > > > > lives. > > > > > > Good luck! > > > > > > > > > > > > Dr. Peter Lennox SFHEA > > > > > > Senior Lecturer in Perception > > > > > > College of Arts, Humanities and Education School of Arts > > > > > > > > > > > > e: p.len...@derby.ac.uk > > > > > > t: 01332 593155 > > > > > > > > > > > > https://derby.academia.edu/peterlennox > > > > > > https://www.researchgate.net/profile/Peter_Lennox > > > > > > > > > > > > University of Derby, > > > > > > Kedleston Road, > > > > > > Derby, > > > > > > DE22 1GB, UK > > > > > > > > > > > > > > > > > > -----Original Message----- > > > > > > From: Sursound [mailto:sursound-boun...@music.vt.edu] On > > > > > > Behalf Of > > > ?? > > > > > > Sent: 16 August 2017 12:33 > > > > > > To: sursound <sursound@music.vt.edu> > > > > > > Subject: [Sursound] Sound Based Composition(surround) > > > > > > > > > > > > Thanks for reply. It is really helpful. > > > > > > The term I used , according to Landy's writing : typically > > > > > > designated the art form in which the sound is the basic > > > > > > unit. I'm thinking about it and developed main question and > > > > > > sub questions,here is a brief description : > > > > > > > > > > > > > > > > > > 1 The study purpose and sub-questions > > > > > > 1.1 Main Purpose > > > > > > For the perception mechanism of human being, every part of > > > > > > the outer world is affecting the final cognition. Thus, as > > > > > > sound-based music, the sources may naturally have > > > > > > extra-musical information. How to use that information > > > > > > appropriately to create artwork so that it could arouse > > > > > > people's association and extra-musical experiences? And, > > > > > > How > > > to > > > > > > combine it with other art forms and effectively creates > > > > > > interesting > > > > > perception experiences? > > > > > > > > > > > > 1.2 Perception > > > > > > For receiving and processing, sensory system will be used > > > > > > and worked together all the time. For artwork creation, > > > > > > including sound-based music composition, would it possible > > > > > > to break the typical perception habit or used it to create > > > > > > artwork according to perception > > > principles? > > > > > > 1.3Cognition > > > > > > In this part, the research question focus on cognition > > > > > > process (understanding through thought, experience, and > > > > > > existing knowledge, > > > > > etc.). > > > > > > In the light of above theory, if sound-based music or > > > > > > audiovisual artwork could follow the path of cognition > > > > > > process, will it creates fantastic artwork that brings > > > > > > abundant information even dramatic experiences? For example, > > > > > > using symbolic melody, lyrics or sound with special meaning, > > > > > > and composed them appropriately, it would be act > > > like > > > > > > "access tools" (Leigh Landy, 2007: 27) and enhance the > > > > > > experiences to audiences and assist them understand the work > > > > > > more easily. Thus, people will focus on experience the > > > > > > feelings or interact with > > > artworks > > > > > > rather than struggle with questions like what is going on > > > > > > here. 1.4 Development > > > > > > To develop the research ideas basis on psychoacoustics and > > > > > > cognitive psychology mentioned above, when combining the > > > > > > sound-based artwork with other forms of art, will > > > > > > innovations happen by this combination? 1.5 Sound sculpture > > > > > > As mention above, sound sculpture basis on sound-based > > > > > > music. Essentially, music is trying to transmit experiences > > > > > > to audiences, so how about creating sound sculpture? It is > > > > > > like the natural world presented to us: when we come into a > > > > > > place, we will hear and see the surroundings and then > > > > > > understand what has happened here, so as "sound > > > > > sculpture" mentioned here. > > > > > > As I'm new to write proposal, what is the essential elements > > > > > > to form > > > a > > > > > > research object and how specific should it be? I'm going > > > > > > to > > > manipulate > > > > > > the principles and compose serious of artworks . Then > > > > > > extract the result to form a final dissertation. > > > > > > > > > > > > > > > > > > Thank you very much, > > > > > > Yilin > > > > > > -------------- next part -------------- An HTML attachment > > > > > > was scrubbed... > > > > > > URL: > > > > > > <https://mail.music.vt.edu/mailman/private/sursound/ > > > > > > attachments/20170816/192f16ff/attachment.html> > > > > > > _______________________________________________ Sursound > > > > > > mailing list Sursound@music.vt.edu > > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > > unsubscribe here, edit account or options, view archives and > > > > > > so on. > > > > > > > > > > > > > > > > > > The University of Derby has a published policy regarding > > > > > > email and reserves the right to monitor email traffic. > > > > > > If you believe this was sent to you in error, please reply > > > > > > to the sender and let them know. > > > > > > > > > > > > Key University contacts: > > > > > > http://www.derby.ac.uk/its/contacts/ > > > > > > _______________________________________________ Sursound > > > > > > mailing list Sursound@music.vt.edu > > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > > unsubscribe here, edit account or options, view archives and > > > > > > so on. > > > > > > > > > > > > > > > > > > > > -- > > > > > Dr. Augustine Leudar > > > > > Artistic Director Magik Door LTD > > > > > Company Number : NI635217 > > > > > Registered 63 Ballycoan rd, > > > > > Belfast BT88LL > > > > > -------------- next part -------------- > > > > > An HTML attachment was scrubbed... > > > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > > > attachments/20170816/c71e43d4/attachment.html> > > > > > _______________________________________________ > > > > > Sursound mailing list > > > > > Sursound@music.vt.edu > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > unsubscribe > > > here, > > > > > edit account or options, view archives and so on. > > > > > > > > > > > > > > > The University of Derby has a published policy regarding email > > > > > and reserves the right to monitor email traffic. > > > > > If you believe this was sent to you in error, please reply to > > > > > the > > > sender > > > > > and let them know. > > > > > > > > > > Key University contacts: http://www.derby.ac.uk/its/contacts/ > > > > > _______________________________________________ > > > > > Sursound mailing list > > > > > Sursound@music.vt.edu > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > unsubscribe > > > here, > > > > > edit account or options, view archives and so on. > > > > > > > > > > > > > > > > > > > > > -- > > > > > > > > As of 1st October 2012, I have retired from the University. > > > > > > > > These are my own views and may or may not be shared by the > > > > University > > > > > > > > Dave Malham > > > > Honorary Fellow, Department of Music > > > > The University of York > > > > York YO10 5DD > > > > UK > > > > > > > > 'Ambisonics - Component Imaging for Audio' > > > > -------------- next part -------------- > > > > An HTML attachment was scrubbed... > > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > > attachments/20170816/5f326f14/attachment.html> > > > > _______________________________________________ > > > > Sursound mailing list > > > > Sursound@music.vt.edu > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > unsubscribe here, edit account or options, view archives and so > > > > on. > > > > > > > > > > > > -- > > > Dr. Augustine Leudar > > > Artistic Director Magik Door LTD > > > Company Number : NI635217 > > > Registered 63 Ballycoan rd, > > > Belfast BT88LL > > > -------------- next part -------------- > > > An HTML attachment was scrubbed... > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > attachments/20170816/46e24dc3/attachment.html> > > > _______________________________________________ > > > Sursound mailing list > > > Sursound@music.vt.edu > > > https://mail.music.vt.edu/mailman/listinfo/sursound - 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